Sydney Philharmonia Chamber Singers | Duruflé’s Réquiem
25 May, 2024, St Phillip’s York St, Sydney, NSW
I finished work at 6pm and the concert started at 7 – you could say I was a little rushed? But entering St. Phillip’s Church, near Wynyard station in Sydney’s CBD, amidst the urban commotion of a typical Friday night, was like finding a small sanctuary amid chaos. The venue’s historic significance and tranquil atmosphere provided a wonderful backdrop to an evening’s interlude of musical immersion, performed by the Sydney Philharmonia Chamber Singers under the guidance of conductor Sam Allchurch (who stepped in at the last minute for director Brett Weymark – and I must say did a truly admirable job filling those rather large conducting shoes!)
The concert began with a poignant Acknowledgment of Country, a ritual of the Sydney Philharmonia, setting a reflective tone and really bringing the audience firmly into the space. Deborah Cheetham Fraillon and Mathew Doyle’s Tarimi Nulay – Long time living here always serves as a kind of musical portal, grounding the audience in the present and guiding them into the journey that lies ahead.
The program featured a selection of three a cappella motets by Renaissance composer Orlando di Lasso, showcasing this ensemble’s ability to tackle intricate polyphonic texture. From the Gregorian chant-like solemnity of the Adoramus te, Christe and Ave verum Corpus to the grandeur of Timor et tremor, “Fear and trembling are come upon me, and horror hath overwhelmed me.” – each piece resonated within the space and set a high standard for the major work to come.
The highlight of the evening was undoubtedly Maurice Duruflé’s Réquiem, a masterpiece of introspection and reverence. Drawing again upon Gregorian chant, Durufle’s composition offers a meditative exploration of the human condition, beautifully realised by the choir under Allchurch’s direction.
From the plaintive strains of the Introit and Kyrie the choir’s performance was marked by clarity of diction and heartfelt expression. Soloists emerged from within the chorus, Declan Wildes’ baritone added a gentle touch of poignancy to the Domine Jesu Christe and a powerful Libera me, and mezzo-soprano Laura Griffin delivered a velvety rich Pie Jesu. The chorus produced a rather lush sound throughout the Réquiem and were sensitive in their phrasing, showing some lovely dynamic control.
I cannot go without a big shout out to the performance by organist David Drury, whose expertise with the instrument added depth and resonance. Despite his unconventional setting at the side of the church, Drury’s skillful manipulation of the organ stops and registers really enriched the emotional impact of the Réquiem. Drury’s interpretation played a crucial role in creating an immersive sonic experience, sometimes producing weirdly harmonic soundscapes, but always perfectly fitting for the work. Many times I imagined the choir was the elegant swan cruising gracefully along while Drury paddled furiously under the surface – but all we heard was the swan – Bravo!
The beginning of the In Paradisum was a chorus of angels, in this space with this organist and these sopranos it all felt like shimmering silver clouds in the distance slowly building and moving closer. The sounds Drury pulled out of that organ were truly ethereal and the choir pulled out all stops too, with the final note being held impossibly long… then silence… (with an occasional car horn… but we didn’t care because this was the perfect place to be get away from the traffic and the chaos and the stress of a normal Friday night commute and take time out for something sublime). No, this was certainly NOT your normal Friday night!
